Lesson video

Hello, everyone.

How are you doing today? I hope you're feeling good.

My name is Ms. Afzal and I'll be your art teacher for this lesson.

I'm very pleased about that, and I'm looking forward to the content of our lesson today.

Our lesson is called Creating a surface, armature, background: preparing your personal response, and this lesson comes from the unit of work, First sustained project: working from a theme.

So if you're feeling ready for this lesson, you have some focus, energy, and enthusiasm, we'll begin.

The outcome for today's lesson is I can select an appropriate surface which aligns with my concept.

We have some keywords in our lesson.

Let's go through them.

Concept, intention, and surface.

So, what do these words mean? Well, concept is the underlying idea, message, or theme.

Intention, this is the purpose behind your creative choices.

And surface, the base or foundation that you work on.

Our lesson today is called Creating a surface, armature, background: preparing your personal response, and it has two learning cycles.

First of all, Clarifying a chosen theme or concept, and next, Choosing the most suitable surface for an outcome.

Let's begin with Clarifying a chosen theme or concept.

What theme or concept feels most important to you right now, and how could your earlier work help you express it? Pause here and share with someone.

Thanks for sharing about the concept that feels most important to you.

Let's hear some responses.

Laura, "I'm still interested in emotion as a theme, particularly the way people hide their true feelings." Yep, that happens! "I'd like to explore mark-making and pattern as a concept." So interesting.

And Jacob.

"My theme of transformation is definitely becoming more focused on sea pollution.

My intention is to incorporate sea creatures into my personal response." Great thinking.

Before you start developing your theme further, it's important to pause and: look back at what you've already created, decide which resources are the most meaningful or successful, make intentional choices that support your concept.

Jun and Sofia are discussing their themes and concepts.

"I want to focus on cell structures and my intention is to create 3D cells onto an interesting surface, which somehow links to my theme." Love how you intend to bring it all together, Jun.

Here's Sofia.

"My theme is anatomy and I'm particularly interested in the heart.

My intention is to incorporate my flower resources into a heart textile structure." Lovely idea.

Look through your photos, drawings, and samples and ask: which pieces feel connected to your concept? Which experiments felt exciting or expressive? Which materials or techniques showed potential? Pause here while you look through your photos, drawings, and samples and answer these questions.

Thanks for having a go at that.

Izzy and Alex are discussing ways to take their ideas forward.

"Having collected many drawings and photos from the forest, I'd like to focus on trees.

My intention is to paint onto a natural surface in keeping with the forest vibe." That sounds great, to keep that natural vibe.

And Alex, "I've enjoyed drawing buildings and trying out different media experimentations.

I'm interested in creating buildings onto different surfaces, such as maps." Love your thinking there.

By selecting and focusing on resources made, you can: strengthen your concept and visual message, work more confidently and with purpose, start developing your own artistic voice.

Aisha and Sam are talking about their themes.

"My theme is messages.

I like the idea of letters, photos, and stories from the past.

My intention is to incorporate elements of those things into mixed media surfaces." And Sam.

"I'm looking at the theme of identity.

My intention is to focus on my friends and how different they are.

One friend is a massive fan of hip hop and I'd like to explore that concept." Sounds great.

It's important to refine your theme to ensure it truly supports your concept and intention.

When your theme aligns with your interests, your work becomes more engaging, not just for you as the artist, but also for your audience.

You can really feel it when someone's really into something and has a passion for it.

Andeep and Lucas are discussing their intentions.

"For my landscapes theme, I'd like to explore mountainous regions.

I go walking a lot with scouts and have many photos I can develop further." "I'm interested in things that are inside other things.

I haven't fully decided where this concept will end up, but my intention is to explore cogs and machinery further." That sounds great.

Keep exploring, Lucas.

Check for understanding.

Why review and select from your earlier work? Is it A, to reuse everything you've made; B, to choose the strongest ideas for your concept; or C, to make your work look more colourful? Pause here while you decide why to review and select from your earlier work.

Well done if you selected answer B.

Indeed, it's to choose the strongest ideas for your concept.

Many artists develop their ideas through process and experimentation, including: Y.

Z.

Kami, who works from drawn studies and photo references, often layering thin glazes to build the surface slowly.

The process includes test panels to experiment with tone, light, and atmosphere before committing to large canvases.

Cy Twombly, who created large-scale abstract works that looked spontaneous but were often based on tests, notes, and layers of writing or mark-making.

Reena Saini Kallat, who works across media such as sculpture, photography, drawing, and installation.

Her large-scale works often begin with drawings or smaller studies.

So we can see there are many artists developing their ideas through process and experimentation.

Which material or technique have you enjoyed using? Pause here and share with someone.

It's Alex.

"I really enjoyed combining paint with pieces of map incorporated.

I'd like to explore this concept further, perhaps painting directly onto a map." Did anything surprise you or spark a new idea? Pause here and share with someone.

Thanks for sharing.

Here's Jun.

"Having explored acrylic pouring, it's now my intention to make a poured surface to build 3D cellular structures onto using a range of media.

I enjoy mixed media." Oh, yes, I can hear that.

Which piece feels most connected to your theme or message? Pause here and share with someone.

Thanks for sharing.

Here's Sofia.

"I started off drawing different anatomical parts and focused on hearts.

I like the concept of hearts and flowers as they can be used to show the connection between nature and the human body.

I really enjoyed making felt and fabric flowers." They are indeed beautiful.

I love the range of textures.

Can you explain how your samples link to your concept? Pause here and share with someone.

Thanks for sharing.

Here's Jacob.

"I photographed and drew plastic bottles, which are often found on a beach and are dangerous to sea creatures.

I hope to incorporate plastic into my concept." What would you change or push further? Pause here and share with someone.

Thanks for sharing.

Andeep, "I've looked at all sorts of landscapes and prefer my mountain samples.

I took photos on a scout walk and then drew from them using oil pastels.

My intention is to make a large-scale piece." I think that would be wonderful.

Check for understanding, true or false? You should try to use every experiment you've made.

Pause here and decide, is this true or false? Well done if you selected false, and now I'd like you to say a little more about your answer.

Pause here while you do this.

Perhaps you said something like this: selecting helps you focus on your strongest ideas.

For the next part of the task, you will need: sample pieces, drawings, or photos which support your theme, sketchbook or camera/scanner if creating a digital sketchbook, tape or glue stick, pen or pencil, scissors.

Pause here while you gather everything you need for the next part of your task.

Now you have everything you need, we can move on to our task.

For your task, I'd like you to present your samples and resources in your sketchbook or digital portfolio.

You could include: a selection of samples which support your theme, photos taken firsthand, annotation to explain your concept.

And it might look like this.

Experiments, objects, drawings, paint techniques, paintings, annotation.

So pause here while you have a go at presenting your samples and resources in your sketchbook or digital portfolio.

I'll see you when you're finished.

It's good to be back with you.

How did you get on with presenting your samples and resources in your sketchbook or digital portfolio? Let's hear from Alex.

"I've presented my digital edits of buildings on this page with some annotation about my most successful samples." And Izzy, "I've begun making a digital portfolio of my own photos and samples.

I can add more to it, should I choose to." Absolutely.

And Jun, "I made lots of experimental cell pieces using a wide range of media.

I tried silk painting, embossing foils, trapping buttons in glue, painting, and angelina fibres.

I've included my most successful samples in my sketchbook." I love that variety, and it really looks like cells.

Now onto our next learning cycle, Choosing the most suitable surface for an outcome.

What is meant by a surface in art? Pause here and share with someone.

Thanks for sharing.

A surface is the material or base you work on or build onto when making an artwork.

Why is a surface important? Pause here and share with someone.

What do you think? Thanks for sharing.

Here's Sam.

"I've never really thought about the surface being important.

I usually choose paper or card for my surface.

Maybe I should consider other options." Sure, why not? And Alex.

"Now that I think about it, certain surfaces could hinder my ideas, for example, stitching into things.

I'll also consider different surfaces to try." I love that openness.

Why is a surface important? Pause here and share with someone.

What do you think? Thanks for sharing.

It's the starting point for painting, drawing, sculpture, collage, mixed media, or installation, and it can be just as meaningful as the marks or materials you add.

Types of surfaces used in art include: paper, canvas, metal, fabric, cardboard, wood, and glass.

Why use paper as a surface in art? Pause here and share with someone.

Thanks for sharing.

Paper comes in many textures, including rough and smooth.

Smooth paper is better for detailed line work, while rougher papers hold media like charcoal or pastel best.

Yupo is a synthetic paper which is smooth and non-absorbent.

It's suitable for alcohol ink, watercolour, and acrylic ink.

Is paper a suitable surface for your theme? Pause here and discuss this with someone nearby.

Thanks for having that discussion.

Here's Aisha.

"My intention is to use old letters and photos, and perhaps stitch them onto paper.

Paper is important to my theme of messages." Yeah, that makes sense.

And Andeep.

"I want to make a large drawing or painting with oil pastels or watercolour paint, so I can experiment with different papers to see which is best." Great thinking.

Why use canvas as a surface in art? Pause here and share with someone.

What do you think? Thanks for sharing.

Canvas is a woven fabric, usually cotton or linen, that is stretched over a frame or panel and typically primed with gesso to prepare it for painting.

It is a popular surface for painting, especially acrylic and oil.

The weave and priming affect how the paint absorbs and spreads.

Is canvas a suitable surface for your theme? Pause here and share with someone.

Thanks for sharing.

Here's Jun.

"My intention is to make a paint pour and build cell structures onto the surface.

Canvas is suitable, but I could try it on wood or glass.

Paper definitely wouldn't work as it would tear and go soggy." And Sam.

"My intention is to make a 3D sculpture inspired by hip hop, so a canvas is not the most suitable surface for me.

I would consider positioning the sculpture on a painted canvas though." Sounds good.

Why use metal as a surface in art? Pause here and share with someone.

Thanks for sharing.

Metal doesn't rip or warp like paper or canvas.

It's long-lasting and tough.

It can be smooth, shiny, rusted, pitted, offering a range of textures and effects.

It can act as a surface for sculptural, etched, welded, or mixed media work.

Is metal a suitable surface for your theme? Pause here and reflect on this.

Let's hear from Laura.

"For my emotion theme, I haven't considered using metal as a surface, but it could be an interesting concept, especially from mark-making." I did some mark-making on metal using a blowtorch once and writing into the surface of some propellers.

It was very interesting and fun.

Here's Alex.

"My theme is buildings and it would be quite an interesting surface to work on, especially for recreating modern architecture.

I will consider it." Thanks for your consideration.

Check for understanding.

Why might an artist choose to work on a metal surface instead of paper? Is it A, it's less expensive; B, it can absorb watercolour better; or C, it provides durability and a unique reflective quality? Pause here while you decide.

Well done if you chose answer C.

Indeed, it provides durability and a unique reflective quality.

Why use fabric as a surface in art? Pause here and share with someone.

Thanks for sharing.

Fabric is a rich and expressive surface and its physical and symbolic qualities offer a wide range of creative possibilities, including: painting, drawing, dyeing, stitching, applique, and sculpting.

Such potential.

And is fabric a suitable surface for your theme, is the question.

Pause here and reflect on this.

Here's Izzy.

"My intention is to create trees or a forest scene.

I could actually stitch it into fabric, which would be a different concept.

I could even stitch it into a canvas." And Sofia.

"I want to make a textile heart and flowers.

Initially, I thought of attaching it to canvas, but I could try a fabric surface." Sounds great.

Why use cardboard as a surface in art? Pause here and share with someone.

Thanks for sharing.

Cardboard is great for sustainable or low-budget projects.

It's strong enough to support paint, collage, and construction.

Cardboard is suitable for creating relief work and 3D models through cutting, bending, scoring, folding, or stacking.

Now, is cardboard a suitable surface for your theme, is the question.

Pause here and reflect on this.

Let's hear from Lucas.

"For my theme of inside, I could potentially make structures from cardboard where have to look into them to see what's hidden." And Andeep.

"I hadn't considered cardboard as a surface, but I think it could be great to paint mountains onto.

It would add extra texture." It really would.

Why use wood as a surface in art? Pause there and share with someone.

Thanks for sharing.

Wood panels provide a rigid, smooth surface ideal for precise detail and long-lasting work.

Reclaimed or weathered pieces add character and texture, e.

g.

old fence boards, floorboards, or driftwood.

And could wood be a suitable surface for your theme? Pause here and reflect on this.

Here's Jacob.

"For my transformation theme, wood could work.

I quite like the idea of incorporating natural materials with plastic." Interesting contrast.

And Izzy.

"It could be an interesting idea to paint my tree directly onto a wooden surface.

It would be an ironic concept." I get that.

Why use glass as a surface in art? Pause here and share with someone.

Artists use glass/plexiglass for its transparency, reflectiveness, and fragility.

Glass can be glued, layered, fused, suspended, or combined with metal, wire, wood, or textiles.

Broken glass can be embedded, painted on, or arranged like mosaic.

Could glass be a suitable surface for your theme? Pause here and reflect on this.

Here's Jun.

"I would actually love to try making fused glass cells.

One of the artists in the community has offered to run a glass workshop in our school, so I could hopefully try it." And Aisha.

"I like the concept of having layered plexiglass panels with different messages trapped between them.

I could paint onto each surface before layering them." Great idea.

Check for understanding, true or false? Paper and canvas are the only suitable surfaces for making art.

Pause here and decide, is this true or false? Well done if you selected false.

Now I'd like you to say a little more about your answer.

Perhaps you said something like this.

What makes the surface suitable depends on the artist's intention, materials used, and desired effect.

Many artists are renowned for using specific surfaces, including: Sokari Douglas Camp, who makes sculptures from metal sheets which are painted and shaped to resemble clothing and body forms. She blends Nigerian culture with contemporary urban references.

James Lake uses recycled cardboard to make full-body sculptures, portraits, and installations that are both technically complex and conceptually powerful.

And Charlotte Hodes is known for her intricate, feminist collage-like approach applied to ceramics and glass vessels or panels.

She incorporates pattern and collage, referencing historical art and design, especially from the 18th and 19th centuries.

Now it's time for your next task.

Create a sample using a surface you have not tried before.

There are many possibilities, including.

Paper: stitching, modelling, folding, stencil work, collage, painting, paper cutting, handmade paper, layering, drawing, printing.

Canvas: painting, embroidery, drawing, stencilling, paint pour.

Metal: enamelling, painting, etching, printing, collage.

Fabric: painting, dyeing, stitching, printing, batik, collage, weaving, netting, assemblage.

Cardboard: drawing, painting, modelling, stencilling, scoring, embossing, relief, folding, assemblage, sculpture.

Wood: painting, carving, stencilling, spray painting, mosaic.

And glass: fusing, slumping, painting, layering, incorporating into an installation, mosaic.

So pause here while you have a go at creating a sample using a surface you have not tried before.

I'll see you when you're finished.

So how did you get on with that task? Let's hear from Alex.

"Instead of drawing buildings, I've tried making a cardboard structure.

I could paint this surface and add intricate detail.

And Izzy.

"I've only ever used batik on fabric so I've tried it on tracing paper as a surface instead.

I'm pleased with the outcome and this could be a way forward with my trees." And Jun.

"I made a cell sample using glass as a surface.

I created a wire structure which I filled with frit, crumbled glass pieces.

A glass lid was placed over the top and it was then fired in the kiln." In our lesson Creating a surface, armature, background: preparing your personal response, we've covered the following.

As artists, we begin by clarifying our concept, the core idea or message that drives our work and our intention, which shapes how we express that concept visually.

Choosing a theme helps focus this creative exploration, providing a framework that informs every decision, from surface to technique.

Choosing a surface is not just about practicality, it's a deliberate artistic decision.

By matching a surface to a theme, we ensure that every element of the artwork supports and enriches our concept.

Well done, everyone, for joining in with this lesson.

It was great to explore surfaces with you, and especially seeing how you tried out something new.

I hope you enjoyed this lesson.

I really enjoyed teaching you, and I look forward to seeing you at another art lesson soon.

Until then, stay creative.